“If you’ve seen one alien invasion, you’ve seen them all.” That may not be an aphorism in Hollywood, but it damn well should be. Ever since the original Independence Day back in 1996, there have been a plethora of invasion flicks of technologically superior aliens trying to rid our planet of its native population and steal its resources for themselves, which sounds an awful lot like a metaphor for colonialism if you ask me.

In Independence Day: Resurgence, twenty years have passed since the last alien invasion failed. Technology scavenged from fallen ships has pushed our own technology far ahead, allowing us to rebuild more quickly and even expand our presence with a modern defense station on the moon. Daniel Levinson (Goldblum) is now in charge of defensive strategies for the planet, which has united after nearly having been annihilated. He believes, like most of the planet’s leadership, that the aliens will be back and we’ve been preparing for twenty years for the inevitability of that fact.

Former President Whitmore (Pullman) is visited regularly by his daughter Patricia (Monroe) who is now an aide to current President Lanford (Ward). Like her dad, Patricia is an ex-fighter pilot. She’s also engaged to hotshot maverick fighter Jake Morrison (Hemsworth) who was exiled to the moon after clipping the wing of the fighter jet of golden boy Dylan Hiller (Usher), son of the late Stephen Hiller, the hero of the War of 1996. The three of them had been close friends but were now leading separate lives. Those lives are about to get a whole lot different.

Because the aliens are back and this time they’ve brought a Mothership the size of a continent. When it lands in the Atlantic Ocean, it covers the entire ocean. The aliens, aware of what happened to the last invasion, are mad as hell and want to finish us off, something having to do with taking the molten core of the planet and using it for fuel. Dr. Brakish Okun (Spiner), who’s been in a coma since his own close encounter with an alien, awakens and has some ideas for saving the Earth (although we get to see a little bit more of his hind end than we ever wanted to) but some of those may well have to wait for the sequel that will one day come. ID4 Part 3 anybody?

There are those in Hollywood who believe that the secret to a great sequel is more of what was in the original, and that sums up this film in a nutshell. Emmerich has, justly or unjustly, gotten a reputation of delivering spectaculars with plenty of destruction but not a lot of thought in the plot department. Here, again, there are things in the story that anyone with even basic knowledge of science will roll their eyes over. For one thing, something that big landing in the Atlantic would send tsunamis that would essentially drown every coast on that ocean, as well as send enough steam and vapor into the air to cause a nuclear winter. Having something that size impact the Earth might also have consequences in terms of knocking the planet off axis. Keep in mind that a much smaller object impacting the Earth may have caused an extinction level event. Even at reduced speeds, the Mothership would have killed half the population of the planet off in an instant just by landing here gently; and they wouldn’t need to land gently to get what they’re after. It would actually be in their best interests to deliberately knock the planet off its axis; it would make their task easier.

It is a hoot to see Goldblum, Pullman, Spiner and Hirsch back in roles that we identify them with, and all of them make the most of their return. Goldblum and Pullman get the lion’s share of time, but Spiner and Hirsch are effective in their supporting roles. The “new kids;” Hemsworth, Usher and Monroe mainly are a little flat; none of them individually or collectively can replace Smith who really made the first film more fun with his swagger and his comic timing, as well as his action chops. Smith reportedly asked for $50 million to sign on here; I’m wondering if it might not have been worth it for Fox to give him what he wanted.

The special effects are, as you can doubtlessly imagine, spectacular although like much that is in this film, much along the same lines as what you saw in ID4. Monuments and icons get destroyed. People flee in terror down streets choked with cars. Dogs get saved. Catchphrases get uttered. Hordes of fighter craft engage the enemy. And as an added attraction, we get to meet the alien Queen. Note to Ellen Ripley on that one; you’re going to need a bigger boat.

This is what I would consider decent summer entertainment; no more and no less. The script is a bit lame-brained but I don’t think anyone is expecting David Mamet here. The effects are more than equal to the task, but they don’t really set the bar any higher; once you blow up the White House (as they did in the first film) the sight of famous places getting destroyed doesn’t really do much for a savvy audience. In short, this is a time-waster that is perfect fodder for shutting your brain off, drinking an ice cold soda, stuffing your face with popcorn and candy and escaping the summer heat for a couple of hours.

REASONS TO GO: Impressive visuals as always. It’s a hoot to see Goldblum, Hirsch, Spiner and Pullman still at the top of their games.REASONS TO STAY: Plot riddled with holes of logic and science. A bloated and often incomprehensible plot is not helped by the absence of Will Smith.FAMILY VALUES: Lots and lots of destruction (they always go for the landmarks), plenty of violence, some profanity and a couple of disturbing alien images.TRIVIAL PURSUIT: Seven actors reprised their roles from the original; the part of President Whitmore’s daughter Patricia was recast from Mae Whitman in the original to Maika Monroe here because Whitman isn’t conventionally pretty met with outrage on the Internet. Also, Will Smith (whose salary demands were rejected by the studio) appears as a portrait in the White House.CRITICAL MASS: As of 7/16/16: Rotten Tomatoes: 32% positive reviews. Metacritic: 32/100.COMPARISON SHOPPING:BattleshipFINAL RATING: 6/10NEXT:The Free State of Jones

Humor is a very personal thing. What makes you laugh may not even get a chuckle out of me and vice versa. That’s what makes comedies hard to write film reviews for and even harder to make movies of. Doing a comedy right is a lot more difficult than doing a drama right. It just is.

Tim Heidecker and Eric Wareheim are best known for having an Adult Swim sketch show a few years back called Tim and Eric Awesome Show, Great Job! It had (or looked to have) a budget that made your most recent YouTube submission look like Avatar. However, the sense of humor possessed by Tim and Eric couldn’t remotely be called conventional. I decided to watch a couple of episodes of the show before tackling the movie and had to stop. I didn’t want to taint my potential appreciation of the movie as I found the show to not be my cup of tea. Hopefully the movie would be better.

Tim and Eric have taken a billion dollars from Tommy Schlaaang (Loggia), the chairman and froth-at-the-mouth face of Schlaaang Industries which is itself kind of a Murder, Incorporated kind of business, to make a movie. God knows why these guys would have gotten anybody to give ’em a hundred dollars let alone a billion but y’know. Anyway, the movie which was supposed to star Johnny Depp instead stars a Johnny Depp impersonator (Rodriguez) and is only three minutes long.

So where did the money go? Mostly on things like a suit made of diamonds for the Depp impersonator, helicopter transportation to and from the set for the directors and drugs. Tim and Eric know they have to pay back the billion but how is that even possible? So they go on the lam and an opportunity drops itself in their laps – eccentric billionaire Damien Weebs (Ferrell) will pay them a billion dollars if they can get the dilapidated S’Wallow Valley Mall back on track.

This won’t be an easy task. The food court is staffed by a man-eating wolf, the stores in the mall are the sort that won’t attract any business (used toilet paper?) and the only people who ever go there are the homeless and the crazy, like Taquito (Reilly), the nearly-always runny nosed consumptive whose temperament is roughly the same as an angry hornet. There’s also Allen Bishopman (Forte) whose sword store is not benefiting from the reign of Tim and Eric and he wants vengeance.

Now on paper it sounds like it could have potential and that’s essentially what kept me going. I kept waiting for something to make me laugh but there really wasn’t anything. Opportunities are squandered and they have a habit of driving jokes into the ground much like stubbing out a cigarette with a stiletto heel until all that’s left is a lipstick smudge.

I’m going to hazard a guess that most of this duo’s audience is in their early to mid 20s and are mostly male. Although I fulfill the latter part of the equation, I’ve left my mid 20s behind in my dust. There’s a very cultish feel to this stuff and if you like their show, that’s all good. It’s just that if you don’t like their show this isn’t going to hold any appeal to you whatsoever.

There are a ton of celebrity cameos of varying degrees of amazing but for the most part this is a movie you endure more than enjoy. It just wasn’t for me and I’m guessing it isn’t for a lot of you either. I will give it points for being quirky and having the balls to try and go outside the box but sometimes when you go outside the box you get eaten by a man-eating wolf.

We look to our mental health professionals to help us see us through our problems, help us overcome our addictions and in general feel better about ourselves and our lives. Like any physician, they are also human beings, subject to issues and pain of their own.

Dr. Henry Carter (Spacey) is a bestselling author and psychiatrist to the stars. He has a gorgeous home in the hills, a clientele that reads like the “A” list and the respect of his peers. But that home is an empty one – his wife committed suicide in it. He can’t bring himself to go in his bedroom any more. He numbs himself out on alcohol and pot. In fact it can be said that Dr. Henry Carter is a stoner of epic proportions.

That’s not to say he isn’t functioning. He still manages to see patients and doles out advice that at least sounds good. His patients include a hard-charging talent manager (Roberts) who gives no quarter in business and has no regard for anyone, a fading comic actor (Williams) who is a raging alcoholic but refuses to acknowledge his problem – he attends his sessions to be treated for a sex addiction that he does acknowledge. There’s also an actress (Burrows) whose career is handled by the talent manager that is slowly spinning into oblivion as he believes her age is an obstacle. She is married to a philandering rock star (Gretsch).

Into this mix comes Jemma (Palmer), a teen whose mother recently committed suicide. She is seemingly losing interest in everything except the movies; Dr. Carter’s father (Loggia) – also a well-respected shrink – urged him to take her on as a pro bono case. At the same time, Dr. Carter’s “step-godbrother” Jeremy (Webber), a struggling screenwriter, becomes friendly with Jemma and realizes her story is the one he was born to tell.

Yes, this is one of those ensemble pieces where all the stories of all these different people are entwined. It’s just not done as well as those other movies like Babelor Crash. The writers rely far too much on coincidence. It’s lazy storytelling and it happens way often here.

Fortunately the movie has some strong performances to fall back on. Nobody in the business does cynical as well as Spacey does and he delivers once again here, despite material that really could have easily been rendered into a 2D caricature. To the actor’s credit, he gives the character nuances and layers that give him a fully realized personality that allows us to really get involved in his story.

He is well-supported, particularly by the manic Williams who has had problems with alcohol in his career and clearly channels those awful years in is performance; Palmer is sweet and cute and adorable and is a breath of fresh air in the movie and James who plays Roberts’ personal assistant who is the love interest for Jeremy.

The opening shot, a panoramic take of the City of Angels from behind the Hollywood sign, shows a great deal of promise but then it falls into cliché-ridden seen-it-all-before-ness that not only doesn’t add any real insight to addiction or life in L.A. but doesn’t really add anything to the genre either. The only thing it really has going for it is Spacey and you can certainly see him in plenty of much better films.